01-I-Vol-I-Bryant.qxd 8/14/03 5:56 PM Page 43 DEATH,DYING, AND THE DEAD IN POPULAR CULTURE KEITH F. DURKIN ulton and Owen (1987) have observed that for prominent examples of this phenomenon. These include members of the generation born after World War II, portrayals of death, dying, and the dead on television, in F individuals who generally lack firsthand experience cinema, in music, and in products of the print media, as with death, the phenomenon of death and dying has well as in recreational attractions, games, and jokes. become abstract and invisible. Americans, like members of Additionally, I explore the social import of the presence of many other societies, attach fearful meanings to death, these thanatological themes in popular culture. dying, and the dead (Leming and Dickinson 2002). Moreover, it is has frequently been suggested that the United States has become a “death-denying” culture. A TELEVISION number of scholars have documented the various ways in which Americans attempt to deny death (e.g., DeSpelder Nearly every American household has at least one tele- and Strickland 2002; Leming and Dickinson, 2002; vision set, and a large percentage have several. Death and Mannino 1997; Oaks and Ezell 1993; Umberson and dying are brought directly into homes via the medium of Henderson 1992). For example, we have a societal taboo television. According to DeSpelder and Strickland (2002), against frank discussions about death and dying. When in an average issue of TV Guide, approximately one-third we do refer to these topics, it is normative for us to use of the listings “describe programs in which death and euphemisms, such as passed away or expired. Furthermore, dying feature in some way” (p. 35). These topics appear in in the United States death typically occurs in the segregated soap operas, crime dramas, mysteries, documentaries, and environments of hospitals and nursing homes, and we typi- comedies. Many of the current top-rated shows, such as ER cally relegate the task of handling the dead to professionals, and CSI, prominently feature death and dying. The popu- such as funeral directors. lar “reality” show Survivor deals with a type of symbolic Although the United States is a death-denying society, death. In fact, death and dying are the most frequently Americans may be said to have an obsessive fascination appearing social topics even in religious television pro- with death and death-related phenomena. As Bryant and gramming (Abelman 1987). Recently, the unique series Six Shoemaker (1977) observe, “Thanatological entertainment Feet Under, the ongoing saga of a family that owns and has been and remains a traditional pervasive cultural pat- operates a mortuary, has proven to be compelling for many tern both in the United States and elsewhere, and has viewers. become very much a prominent and integral part of con- Many people have expressed tremendous concern about temporary popular culture” (p. 2). For instance, death, the amount of violent death featured on U.S. television. dying, and the dead “regularly appear in various informa- According to the National Institute of Mental Health, by tional and entertainment media” (Walter, Littlewood, and the time the average American reaches age 16, he or she Pickering 1995:581). Accordingly, the mass media have has seen 18,000 murders on television (Kearl 1995). It has become a primary source of information about death and been estimated that violent death “befalls five percent of dying for most Americans. all prime time characters each week” (Gerbner 1980:66). In this chapter, I explore the various manifestations of Violent death is not limited to prime-time programming, death, dying, and the dead in contemporary U.S. popular however. The cartoons that are featured on Saturday morn- culture. This discussion is not intended as an exhaustive ings contain an average of 20 to 25 violent acts per hour, exposition of this topic; rather, I seek to address the more and many of these acts result in the apparent deaths of 43 01-I-Vol-I-Bryant.qxd 8/14/03 5:56 PM Page 44 44–•–CONFRONTING DEATH characters (Wass 1995). However, unlike in reality, cartoon Everitt 1997). A number of recent films have portrayed characters have their deaths “reversed with no serious con- the activities of murderers, including Silence of the Lambs, sequences to their bodily functions” (Mannino 1997:29). Hannibal, American Gothic, and Natural Born Killers. In Death has also long been a mainstay of televised news the popular Faces of Death series, which appeared in video programming, but with the advent of cable television and rental outlets in the mid-1980s, “actual death was dis- satellite broadcasting, death coverage has taken on a new played, with images of suicides, executions, and autopsies” dimension. The Gulf War of 1991 was a major news event, (Kearl 1995:28). with live coverage of the battles as they occurred. An aver- One specific genre of horror film, the slasher movie, has age of 2.3 million households tuned in daily to the O. J. become especially popular in recent years. According to Simpson trial, the so-called Trial of the Century (Durkin Molitor and Sapolsky (1993): and Knox 2001). The funeral of Diana, Princess of Wales, was seen on television “by 31 million people in Britain and The genre can be characterized as commercially released, two billion worldwide” (Merrin 1999:53). The tragic ter- feature length films containing suspense evoking scenes in rorist attacks on the World Trade Center and the Pentagon which an antagonist, who is usually a male acting alone, on September 11, 2001, were a media event that transpired attacks one or more victims. The accentuation in these films on live television: is extreme graphic violence. Scenes that dwell on the victim’s fear and explicitly portray the attack and its aftermath are the central focus of slasher films. (P. 235) Every major network, as well as many specialized cable networks (e.g., VH1 and MTV) featured live coverage of the events as they unfolded. According to Nielsen Media Slasher movies feature plenty of sex and large teenage Research, 80 million Americans watched television news cov- body counts (Strinati 2000). Examples include Halloween, erage on the evening of September 11th. In the days fol- Friday the 13th, Nightmare on Elm Street, Slumber Party lowing September 11th, there was around-the-clock coverage Massacre, and Motel Hell. In 1981, 25 slasher movies of the subsequent reaction to the attack, the rescue efforts, and were ranked among the 50 top-grossing films of that year the eventual military retaliation. (Durkin and Knox 2001:3–4) (Strinati 2000). The impact of slasher films has extended far beyond the cinema; for example, the mayor of Los Angeles proclaimed September 13, 1991, Freddy Krueger Day, in honor of the killer featured in the Nightmare on CINEMA Elm Street film series (Lewis 1997). Thanatological themes have traditionally been, and con- tinue to be, an extremely popular element of the cinematic enterprise. For instance, death and dying feature promi- MUSIC nently in westerns and war movies. There have also been many successful film dramas about dying, including Love Historically, thanatological themes have been present in Story, Dying Young, Stepmom, My Life, and Sweet nearly all musical styles. For instance, folk songs about November. Death has even been the topic of comedies, serial killers date back well into the 19th century (Schecter such as Weekend at Bernie’s and Night Shift. As Kearl and Everitt 1997). Death-related themes are also present in (1995) notes, beginning in the 1970s, a popular motif many operas and classical musical pieces. These motifs “involved attacks on humanity by the natural order—frogs, have played a major role in the recording industry. bees, sharks, meteors, earthquakes, and tidal waves” Interestingly, one of the first recordings ever “produced (p. 27). A vast array of movies have featured “disastrous for the Edison phonograph featured an actor reading the life-threatening phenomena such as diseases (e.g., AIDS, shocking confessions of H. H. Holmes, the notorious Ebola-like virus), massive accidents (e.g., airplane crashes, nineteenth-century “Torture Doctor” (Schecter and Everitt nuclear plant accidents) and natural disasters” (Bahk and 1997:185). However, death became particularly prominent Neuwirth 2000:64). Ghost movies (e.g., Truly, Madly, in the popular music of the so-called Baby Boom genera- Deeply and Ghost) as well as thrillers such as Flatliners tion’s teenage years (Kearl 1995). In the 1950s, a musical have used the near-death experience as a narrative focus genre often referred to as “coffin songs”—songs featuring (Walter et al. 1995). themes related to dying and grief (e.g., “Last Kiss”)— Many movies have a decidedly morbid focus. Young became popular with young Americans (DeSpelder and people appear to be particularly fascinated by films that Strickland 2002). The eminence of death-related motifs feature violent deaths (Leming and Dickinson 2002). continues to this day. At times, this can assume remarkable Zombie films such as Dawn of the Dead and Night of the configurations. For example, the funeral of Diana, Princess Living Dead not only feature the undead but have scenes of Wales, produced pop artist Elton John’s hit single containing gruesome acts of violence and murder. The “Candle in the Wind ’97” (Merrin 1999), which is a lyri- notorious serial killer Jack the Ripper has been featured in cally rearranged version of an earlier John song about the a large number of films, including Murder by Decree, dead movie icon Marilyn Monroe. Moreover, a large A Study in Terror, and Man in the Attic (Schecter and number of musicians have died in tragic and untimely 01-I-Vol-I-Bryant.qxd 8/14/03 5:56 PM Page 45 Death, Dying, and the Dead in Popular Culture–•–45 fashion.